The granaries are Adrienne’s most recent works. They appear to the viewer to be functional vessels, which they are, but they are already serving their function. The granaries were made to contain and protect the human spirit, as a granary would contain and protect human nourishment. The round granary forms are inspired by granaries found on the African continent. They are elevated on feet to keep the pests out and to protect the contents. The dancers that grace the tops of a selection of these vessels are the embodiment of the contents, the human spirit it takes to maintain the basic element that sustains life.
Some of the granaries were inspired by specific choreographers. Earlier vessels from this series show the human figures as more abstracted, similar to paper cut-outs. The earliest of the granaries were topped with creatures.
This piece is an expression of all that threatens (climate, crisis, war) the basis of life.
The red figures here are inspired by the painting “Dance” by Henri Matisse (1910). This piece was included in the New York State Museum Contemporary Craft Exhibition.
This is Adrienne’s last granary. Its form is inspired by granaries found in Spain in Portugal. Small, mold-made hand tiles line the roof, offering the content protection. On the cornice of the granary, the viewer can find one of Adrienne’s female symbols.
This piece is actually an assemblage of mold-made hand tiles that Adrienne made as glaze tests for the largest of the granaries. The tiles, shaped like small hands, were used on the roof to offer protection to the contents of the granary, the human spirit.